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Album Review – Korpiklaani / Rankarumpu (2024)

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Can you hear the striking Folk Metal sound of the ragged drum played by one of the most iconic Finnish bands of all time?

A highly revered and massively popular Folk Metal ensemble known for their signature style of Finnish Folk and Heavy Metal that runs the gamut of emotions for one of the most honest, unique and enthralling sounds in heavy music, Lahti, Päijät-Häme-based outfit Korpiklaani has just unleashed upon us their twelfth studio album, titled Rankarumpu (or “ragged drum” from Finnish), the follow-up to their 2021 release Jylhä. Once again produced, mixed and engineered by Janne Saksa at Sound Supreme Studio, mastered by Svante Forsbäck at Chartmakers, and displaying a beautiful artwork by Jan “Örkki” Yrlund of Darkgrove Design, the new album by the shaman at heart Jonne Järvelä on vocals and acoustic guitar, Kalle “Cane” Savijärvi on the guitar, Jarkko Aaltonen on bass, Sami Perttula on the  accordion, Olli Vänskä on the violin, and Samuli Mikkonen on drums and percussion showcases a band revisiting their older sound with faster tempos for one of their catchiest albums to date, putting every single person alive to dance together with those Finnish rockers.

The opener Kotomaa (“homeland”) already invites us all for a fun and dancing Folk Metal party, with Samuli sounding amazing on drums while Sami and Olli kick some as with their respective accordion and violin, followed by Tapa sen kun kerkeet (“kill while you can”), sounding thrashier thanks to the riffs by Cane, with Jonne delivering his inebriate, raspy vocals nonstop; and there’s more of Sami’s accordion madness in Aita (“fence”), leading his horde of vodka drinkers while inspiring us all to prance around the firepit. The breathtaking Saunaan (“sauna”) is a song that will ignite some ruthless mosh pits, therefore turning the floor section into a real sauna, with Jonne roaring in great fashion supported by the electrifying sounds blasted by his bandmates, and the blazing guitar by Cane kicks off the also fast-paced Mettään (“into the woods”), which seems to be the norm throughout the entire album, and of course Samuli benefits a lot from that; whereas Kalmisto (“march to the grave”) is a groovier tune by Korpiklaani with the low-tuned, metallic bass by Jarkko adding thunder to their already classy sound.

The title-track Rankarumpu brings to our avid ears an overdose of Finnish Folk Metal led by the rhythmic beats by Samuli while Jonne keeps declaiming the song’s Finnish lyrics with tons of passion, followed by No perkele (“damn it”), and of course with that name the song was going to be a banger. Needless to say, I would love to see them playing it live, with the accordion by Sami sounding even more incendiary during the song’s headbanging four minutes. It’s then time for a melancholic tune titled Viikatelintu (“reaper bird”) which, despite being a good song, is not at the same level as all others, sounding very generic at times. Back to a more vivid and vibrant sonority we have Nouse (“rise”), where once again Samuli hammers his drums nonstop, creating a healthy paradox with Olli’s charming violin. Oraakkelit (“oracles”) is another firepit prancing hymn by Korpiklaani, with Olli and Sami stealing the spotlight with their beyond folky sounds, while lastly we have Harhainen höyhen (“lost feather”), closing the album on a high Folk Metal note thanks to the amazing vocals by Jonne and all the wicked sounds blasted by his crew.

You can enjoy Rankarumpu in all of its glory on YouTube and on Spotify, check what the band is up to on Facebook and on Instagram, including their tour dates (and if you check what they did here in Toronto a few weeks ago by clicking HERE you’ll certainly want to see them live), subscribe to their YouTube channel, and above all that, grab a copy of their fun new album by clicking HERE or HERE. Can you hear the striking Folk Metal sound of the ragged drum played by one of the most iconic Finnish bands of all time? If your answer is yes, then Rankarumpu will certainly bring a lot of joy to your shamanic heart, no doubt about that.

Best moments of the album: Kotomaa, Saunaan and No perkele.

Worst moments of the album: Viikatelintu.

Released in 2024 Nuclear Blast

Track listing
1. Kotomaa 3:10
2. Tapa sen kun kerkeet 2:26
3. Aita 3:47
4. Saunaan 3:18
5. Mettään 4:19
6. Kalmisto 4:22
7. Rankarumpu 2:43
8. No perkele 3:58
9. Viikatelintu 3:21
10. Nouse 3:23
11. Oraakkelit 3:12
12. Harhainen höyhen 5:16

Band members
Jonne Järvelä  – vocals, acoustic guitar
Kalle “Cane” Savijärvi – guitar
Jarkko Aaltonen – bass
Sami Perttula – accordion
Olli Vänskä – violin
Samuli Mikkonen – drums, percussion

Album Review – Battle Beast / Circus of Doom (2022)

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Welcome to the circus ruled by the one and only Battle Beast, featuring ten tracks that blend true Heavy Metal with pop and rock vibes.

Since their inception in 2005 in the city of Helsinki, Finland, the Heavy/Power Metal and Hard Rock bulldozer known as Battle Beast has been on an unstoppable ride, releasing an array of albums that can already be considered metal classics such as their 2015 opus Unholy Savior, and contemporary gems like their 2017 album Bringer Of Pain. Now in 2022 our beloved frontwoman Noora Louhimo and her bandmates Joona Björkroth and Juuso Soinio on the guitars, Eero Sipilä on bass, Janne Björkroth on the keyboards and orchestrations, and Pyry Vikki on drums are back in action with Circus of Doom, the follow-up to their not-so-good 2019 album No More Hollywood Endings. Recorded, produced, engineered and mixed by Janne Björkroth at JKB Studios, mastered by Mika Jussila at Finnvox Studios, and displaying a classy artwork by Jan “Örkki” Yrlund of Darkgrove Design, Circus of Doom features ten tracks that blend true Heavy Metal with pop and rock vibes, putting the band back on track and showing us all why they’ve become one of the most important names of the current European scene.

A quick circus-inspired intro evolves into the melodic and wicked title-track Circus of Doom, showcasing classic Power Metal lyrics declaimed by Noora (“The lions are hungry / And filled with rage / Afraid and angry / Locked in a cage / Ah / The circus is coming to town”) spiced up by the whimsical keys by Janne, whereas Wings of Light can be considered a journey back in time to their Bringer of Pain sound, with Pyry dictating  the song’s headbanging pace while Joona and Juuso keep slashing their guitars in the name of Heavy Metal firing riffs and solos that exhale pure electricity. Master of Illusion, one of the first singles of the album, brings forward the band’s more recent creations, mixing heavy music with pop in a theatrical manner, and once again it’s Noora who steals the spotlight with her powerful voice; followed by Where Angels Fear to Fly, another tune where the band focuses a lot more on their Hard Rock vein than on Heavy Metal while Janne kicks ass with his keys and orchestrations from start to finish. Then happy, strident riffs permeate the air in Eye of the Storm, an upbeat metal tune spearheaded by Noora’s soaring vocals and Pyry’s rhythmic drumming.

In Russian Roulette, witty words are powerfully sung by Noora (“In this game of Russian roulette / The room is filled with sin, would you let me in? / Tonight might be the night / As troubles disappear, the moon seems so near / Beneath electric starlight”) while her bandmates deliver a solid balance of Heavy Metal, Disco and Rock N’ Roll, whereas Freedom is an imposing, pounding composition that will please all fans of the early days of Battle Beast, bringing to our avid ears the galloping drums and bass by Pyry and Eero, respectively, not to mention how epic the backing vocals sound. The Road to Avalon sounds and feels extremely melodic, inviting us all to dance together with those Finnish rockers while Eero’s rumbling bass goes hand in hand with the old school riffage by the band’s guitar duo, and sharp vocalizations ignite the groovy and exciting tune Armageddon, bringing forward another striking performance by Noora on vocals supported by the stylish riffs and solos by Joona and Juuso. Last but not least, it’s time for a Power Metal feast entitled Place That We Call Home, where the sound of the guitars makes a potent paradox with the keys by Janne, putting a climatic ending to the album. As a matter of fact, if you go for the Digibook edition of the album you’ll be treated to two excellent bonus tracks, The Lightbringer and Tempest of Blades, both definitely worth the extra investment.

You can enjoy Noora’s soaring vocals and the thunderous Heavy Metal played by her henchmen in Circus of Doom in its entirety on YouTube and on Spotify, and of course purchase a copy of the album by clicking HERE. In addition, don’t forget to also follow the band on Facebook and on Instagram, and to subscribe to their YouTube channel (if you haven’t done so yet, of course). Battle Beast might not sound as metallic as in their early days, but they managed to find an awesome balance between Heavy Metal and pop music that turns their more recent releases (with the exception of No More Hollywood Endings) a beyond enjoyable listen to any fan of good music, it doesn’t matter if that person is a metalhead or not, and that only contributes to elevate their name in the metal scene even more. In other words, welcome to the circus of Heavy Metal by Battle Beast, and don’t forget to bang your head nonstop to each one of the “attractions” of the show.

Best moments of the album: Wings of Light, Freedom, Armageddon and Tempest of Blades.

Worst moments of the album: Where Angels Fear to Fly.

Released in 2022 Nuclear Blast

Track listing
1. Circus of Doom 4:57
2. Wings of Light 4:07
3. Master of Illusion 4:08
4. Where Angels Fear to Fly 3:56
5. Eye of the Storm 4:26
6. Russian Roulette 4:16
7. Freedom 3:44
8. The Road to Avalon 4:30
9. Armageddon 3:43
10. Place That We Call Home 3:47

Digibook bonus tracks
11. The Lightbringer 4:23
12. Tempest of Blades 3:32

Band members
Noora Louhimo – vocals
Joona Björkroth – guitars, backing vocals
Juuso Soinio – rhythm guitars
Eero Sipilä – bass, backing vocals
Janne Björkroth – keyboards, orchestrations, backing vocals
Pyry Vikki – drums

Album Review – Marble / S.A.V.E (2021)

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It’s time to bang your heads to the three theological virtues and the seven deadly sins in the form of first-class Melodic Metal made in Italy.

3.5rating

marble-s.a.v.e-2021Formed in the spring of 2003 in Mortara, a town and comune located in the Province of Pavia, in the region of Lombardy, Italy, Melodic Metal band Marble is finally back in full force after over a decade with their sophomore installment, entitled S.A.V.E, the follow-up to their highly acclaimed 2008 album A.t.G.o.d. Mixed and Mastered by Giulio Capone (Moonlight Haze) and displaying a stunning artwork by renowned Finnish artist Jan “Örkki” Yrlund of Darkgrove Design, S.A.V.E presents an irrepressible mix of heavy guitar riffs, powerful aggressiveness, amazing guitar solos, surprising keyboard harmonies and original technical rhythms by Paul Beretta and Omar Gornati on the guitars, Jacopo Marchesi on keyboards, Daniel Fleba on bass and Norman Ceriotti on drums, blended with frontwoman Eleonora Travaglino’s breathtaking, catchy melodies and epic choruses, while at the same time dealing with human behavior and entwined with the three theological virtues and the seven deadly sins in a gloomy and decadent mood, being therefore recommended for fans of both melodic and extreme music.

The smooth keys by Jacopo set the tone in the opening track Mine, based on the sin of greed, before exploding into violent and melodic Heavy Metal with Paul and Omar kicking ass with their classic riffs, whereas investing in a more Progressive Metal vein thanks to the intricate beats by Norman we have Heartless Disease, where Eleonora declaims the song’s words about the sin of luxury (“Outline of a moral / You will never fall into / You try to blame me for what? Blame your creed / This life is not an heartless disease”), followed by 30 Silver Coins, a song about hope, featuring guest vocals by Maurizio Caverzan (Ghostheart Nebula, Verlaine) who makes an interesting duo with Eleanora, leaning towards Melodic Death Metal at times. And it’s time to talk about vanity in My Mask Collection, where instead of being progressive like they wanted the music sounds a little confused or mixed, fortunately getting better after a while thanks to the good job done by Norman on drums. And inspired by the music by Nightwish, Lacuna Coil and Epica, the quintet fires the headbanging tune What Leads Us To, with Eleonora taking the lead with her captivating vocals singing about the sin of envy, accompanied by the crisp guitars by Paul and Omar.

Then Daniel and Norman smash their thunderous weapons in a song about gluttony entitled To Feed The Worms, inviting us all to dance and raise our horns together with the band in a solid display of Progressive and Melodic Metal, not to mention another awesome vocal performance by Eleonora; and a gripping vibe sets the tone in the ballad A Darker Shade Of Me, dealing with the sin of wrath, where Eleonora declaims the song’s poetic lyrics accompanied by acoustic guitars. Following such introspective tune, the band gets back to a more electrifying sonority firing the epic and imposing Where Is The Light, a song about faith led by the Black Sabbath-inspired beats by Norman and the sharp riffage by Paul and Omar. The rumbling, low-tuned bass by Daniel kick off the also melodic Timelines, revolving around the sin of sloth, evolving into a Gothic Metal ballad by Marble that will please all fans of this more delicate side of metal music, with Eleonora stealing the show with her smooth vocals, whereas putting the pedal to the metal it’s time for a classic Heavy Metal feast about charity by Marble entitled Daymare Town, where Jacopo is on absolute fire with his whimsical keys, living up to the legacy of renowned acts the likes of Nightwish and Epica, before soulful riffs and dark bass lines are offered to us all in the instrumental outro Sins And Virtues Ending, closing the album in a somber and melancholic manner.

marble-2021If you want to have a better taste of how the seven deadly sins and the three theological virtues taste and feel in S.A.V.E, you can stream the full album on Spotify, but of course in order to show your utmost support to those Italian metallers you should start following them on Facebook and on Instagram, subscribe to their YouTube channel for more of their great music, and above all that, purchase your favorite copy of S.A.V.E by clicking HERE, as well as from Dead Pulse or Apple Music. As we’re all sinners in the end, why not succumb to our deepest sins and desires to the sound of the Melodic Metal played by Marble? I’m sure the band would love to be part of the soundtrack to your most wicked and immoral moments.

Best moments of the album: What Leads Us To, To Feed The Worms and Daymare Town.

Worst moments of the album: My Mask Collection.

Released in 2021 Sliptrick Records

Track listing
1. Mine 4:38
2. Heartless Disease 3:50
3. 30 Silver Coins 4:41
4. My Mask Collection 4:46
5. What Leads Us To 5:49
6. To Feed The Worms 4:36
7. A Darker Shade Of Me 2:38
8. Where Is The Light 4:17
9. Timelines 3:55
10.Daymare Town 4:05
11. Sins And Virtues Ending 1:57

Band members
Eleonora Travaglino – vocals
Paul Beretta – guitar
Omar Gornati – guitar
Jacopo Marchesi – keyboards
Daniel Fleba – bass
Norman Ceriotti – drums

Guest musician
Maurizio Caverzan – additional vocals on “30 Silver Coins”

Album Review – Korpiklaani / Jylhä (2021)

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The Finnish clan of the wilderness is ready to put us all to dance around the firepit once again with their majestic fusion of folk elements and heavy sounds.

Forged in the already  distant year of 1993 (first as Shamaani Duo and later as Shaman), Finnish Folk Metal institution Korpiklaani is more than ready to put us all to dance around the firepit once again with their fusion of folk elements and heavy sounds found in their eleventh studio album, titled Jylhä, and let me tell you there couldn’t be a better name to describe such awesome record. Jylhä is the Finnish word for “majestic”, which is exactly what frontman Jonne Järvelä, guitarist Kalle “Cane” Savijärvi, bassist Jarkko Aaltonen, violinist Tuomas Rounakari, accordionist Sami Perttula and drummer Samuli Mikkonen have to offer throughout the album’s 13 original compositions in the impressive span of one hour of music, all embraced by the beautiful artwork by Finnish designer Jan “Örkki” Yrlund (Darkgrove Design), resulting in one of the most sonically diverse records they’ve ever written and, therefore, proving why they’re considered one of the most important names of the genre alongside giants the likes of Finntroll, Eluveitie, Ensiferum and Turisas.

The tribal beats by Samuli kick off the dark and folk Verikoira (“bloodhound”), a headbanging, beer-drinking tune by those old school Finnish guys with the violin by Tuomas and the accordion by Sami taking us back on a journey to a distant time, whereas it’s time to slam into the circle pit and drink some vodka in the name of Folk Metal in Niemi (“the cape” or “peninsula”), a song about the triple murder in Lake Bodom in 1960 that shocked the whole Finland, with Jonne leading his horde with his inebriate vocals while the slashing guitar by Cane adds some extra spice to the overall result. Then we have Leväluhta (“algae”), with its name taken from a spring in Isokyrö where remains of approximately a hundred Iron Age bodies have been found buried, highly inspired by Finnish traditional folk music where Samuli’s beats dictate the rhythm accompanied by the wicked accordion by Sami; followed by Mylly (“the mill” or “grinder”), the story of a man’s journey to the mill who on his way sees a figure sitting on a fence, a “devil” with a hoof as a  foot. Musically speaking, it’s another entertaining round of their fusion of Folk and Heavy Metal where Jonne nicely declaims the song’s dark words.

A melancholic and pensive intro led by Jonne’s introspective vocals evolves into a dark and metallic Folk Metal extravaganza titled Tuuleton (“windless”), showcasing the razor-edge riffs by Cane in constant paradox with the crying violin by Tuomas, while in Sanaton Maa (“wordless land”), inspired by a legend known at least in Kaukola and Valkeala in Finland, a beautiful melody flawlessly flows from their unstoppable riffs, violin and accordion, resulting in a Folk Metal headbanger that will please all fans of the band. The violin by Tuomas keeps crying in Kiuru (“lark”), not as inspiring nor as vibrant as its predecessors despite the decent job done by Jonne with his trademark raspy vocals and the always stylish riffs by Cane; and Cane continues to extract electrifying sounds from his stringed axe in Miero, showcasing elements from Doom and Melancholic Metal carefully inserted in their traditional Folk Metal, therefore exhaling sadness while Jonne is effectively supported by his bandmates’ backing vocals.

Get ready to prance around the fire pit together with the boys from Korpiklaani in the fun Pohja (“base” or “ground”), where Samuli is on fire with his crushing drums while Cane and Jarkko make our heads tremble with their riffs and bass jabs, not to mention Tuomas’ incendiary violin solo. Then more traditional, old school Finnish music in the form of Folk Metal is offered to us all in Huolettomat (“careless”), keeping the atmosphere light and exciting while Jonne’s vocals sound like a drunk minstrel from the past; and never tired of drinking and partying around the fire, the band brings to our ears the straightforward Anolan Aukeat, with Samuli and Jarkko providing Tuomas and Sami a strong base for their refined violin and accordion sounds. Their second to last display of insanity and booze comes as the semi-acoustic extravaganza titled Pidot (“feast”), which should work really well if played live mainly because of how much fans of the band love this type of dancing tune, and last but not least Korpiklaani fire the grim and heavy Juuret (“roots”), presenting their usual dexterity and musical roots infused with pensive and sluggish sounds, changing its shape and form as the music progresses and with Cane, Tuomas and Sami displaying all their passion for folk music.

In a nutshell, we can rest assured that as long as the Finnish clan of the wilderness is among us, our good old Folk Metal will remain alive and kicking, with albums like Jylhä beautifully showing how majestic and fun Scandinavian Metal (as well as all other styles from the north) can be. Hence, don’t forget to give the guys from Korpiklaani a shout on Facebook and on Instagram, to subscribe to their YouTube channel and to search for them on Spotify for more of their first-class music, and of course to buy your copy of Jylhä by clicking HERE​ or HERE. Every single time Korpiklaani release a new album, you know it’s time to stretch our legs and arms, grab some cold beer, start the fire and get ready to spend hours and hours dancing around the firepit, celebrating the Scandinavian culture and, above all, our deep passion for heavy music together with those unstoppable Finnish metallers.

Best moments of the album: Niemi, Pohja and Huolettomat.

Worst moments of the album: Kiuru.

Released in 2021 Nuclear Blast

Track listing
1. Verikoira 6:19
2. Niemi 3:42
3. Leväluhta 3:50
4. Mylly 4:43
5. Tuuleton 5:50
6. Sanaton Maa 4:29
7. Kiuru 5:26
8. Miero 4:21
9. Pohja 4:28
10. Huolettomat 4:16
11. Anolan Aukeat 3:05
12. Pidot 3:47
13. Juuret 6:19

Band members
Jonne Järvelä – vocals, mandolin, hurdy gurdy, violafon, shaman drum, djembe, flute
Kalle “Cane” Savijärvi – guitars, backing vocals
Jarkko Aaltonen – bass
Tuomas Rounakari – violin
Sami Perttula – accordion
Samuli Mikkonen – drums